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b. 250
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composition: Op. 49, Fantaisie in F minor
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FE2 restored – perhaps at Chopin's request – the version of the bottom notes of the first two quavers as it was in A, which is an argument that the FE1 text is almost certainly a double mistake by the engraver. category imprint: Differences between sources issues: Errors in FE , Terzverschreibung error , Authentic corrections of FE |
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b. 250
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composition: Op. 49, Fantaisie in F minor
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In A and FE there is no accidental to the bottom note of the 7th quaver. One pedal for the entire 2nd half of the bar proves that Chopin heard here one chord, with g category imprint: Interpretations within context; Differences between sources issues: EE revisions , GE revisions , Omission of current key accidentals , Inaccuracies in A , Errors repeated in FE |
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b. 250-253
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composition: (Op. 4), Sonata in C minor, Mvt IV
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In A there are no accidentals to the 1st quaver in bar 250 and 253. In the main text we add cautionary flats, necessary in this context. In bar 250 a flat was also added in GE (→FE,EE,IE). category imprint: Differences between sources; Editorial revisions issues: GE revisions |
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b. 251
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composition: Op. 43, Tarantella
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In FC3 e category imprint: Differences between sources issues: Inaccuracies in FC |
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b. 251-265
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composition: Op. 39, Scherzo in C♯ minor
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Differences in the extent of dynamic hairpins in bars 252-257 and 260-265 may at least partly result from inaccuracies. We adopt the version of FE as our main text, with some modifications in bars 253-254 and 261-262, as shortening of category imprint: Interpretations within context; Differences between sources issues: Inaccuracies in FE |
2 in 
was added in 
2 crotchet is not dotted in RH. 
marks there may have been caused by ends of systems that fell between those bars in